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John Tosh's book is a signal event. It celebrates the full coming of age of the history of masculinity as a recognised academic sub-discipline. If Davidoff and Hall laid the foundations in this respect, Tosh finally establishes and opens up the field.

I do not know whether the Italian title of this book (Vita di casa) is an allusion to Mario Praz and his autobiography La casa della vita (Milan, 1958), but it would be fitting. In that book Mario Praz guides the reader through his Roman house and tells his life during the tour.

The concept of ‘separate spheres’, or the organisation of society into a private, domestic, female world and an active, public, male domain, is closely associated with Victorian society and, arguably, has had a pervasive influence upon gender relations since. Women’s sphere was that of the home, or activities closely connected with it.

The homes of the British middle class in the third quarter of the 19th century, as depicted in contemporary photographs, were cluttered with furniture, soft furnishings and objects. Walking across a room required careful negotiation of lightweight tables that might easily topple over and spill the numerous items that decorated their surface.

For various reasons housing is important to everyone and thus it has rarely been far from the centre of political debate in Britain. As the main urban land use, housing is a valuable and scarce resource, and if politics are about command over resources then housing is inescapably a political issue.

Leif Jerram’s Germany’s Other Modernity: Munich and the Making of Metropolis, 1895–1930 is a rich and welcome contribution to the urban history of modern Germany, a field which has, for some time now, been dominated by studies on Berlin and Hamburg. Berlin has, as Jerram puts it with little exaggeration, acquired ‘totemic status’ (p.

Every picture tells a story. The story told by posed portraits of the family is one of change over time; family groups look different at different times. Thus the Victorian middle-class family is typically photographed in an indoor ‘domestic’ setting, its members unsmiling, connected to each other by the touch of a hand on a shoulder.

In the introduction to her long-awaited and extremely interesting study of the popular literature of Victorian interior decoration, Judith Neiswander prepares her readers – and perhaps to a certain extent herself – for their predicted negative reactions to the décor of the late 19th-century middle class home.

When historians of the future come to write about the historiographical preoccupations of 21st-century Britons, they surely will observe our growing obsession with consumer behaviour and material culture.